• Journal of Chest Surgery
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• v.36 no.6
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• pp.391-396
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• 2003

Background: Recently transilluminated powered phlebectomy was introduced and used as a method of surgical treatment for varicose vein in lower extremities. The advantage of transilluminated powered phlebectomy are minimal scar and good cosmetic effect. However, the disadvantages of transilluminated powered phlebectomy is that a high priced Trivex system must be used which increases the patient's expenses. Therefore, we performed a transilluminated powered phlebectomy using an existing arthroscopic equipment instead of Trivex system and observed the effect of treatment and efficiency of the treatment. Material and Method: From March, 2000 to February, 2003, 78 patients (113 limbs) underwent transilluminated powered phlebectomy with an arthroscopic equipment. Patient's disease history, the number of operative scars and complications were reviewed. Result: The operation was performed in 133 limbs of the 78 patients (34 men, 44 women) and the age of patients were ranged from 16 to 72 years with mean age of 41.8 years. Operative time ranged from 20 to 65 minutes (average 48.7 minutes) per limb. The number of operative scar per limb from 2 to 7 (average 4.9). Postoperative complications are transient ecchymosis (78 cases) that desappeared spontaneously, edema persisting longer than 3 weeks (6 cases), remnant varicose vein (4 cases), skin perforation during operative procedure (2 cases), and contact dermatitis due to compression stocking (4 cases) The mean hospitalization day was 3.09 days. Subjective mean satisfaction degree of operation by the patients using a visual analogue scale was 92.6%. Conclusion: Our findings demonstrated that transilluminated powered phleectomy using arthroscopic equipment was possible and had good cosmetic results with acceptable complications.

• Cartoon and Animation Studies
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• s.33
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• pp.317-341
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• 2013

Found Footage Film has been increasingly addressed between film and visual art world in the age of rapid media change. With regards to this self-conscious found footage filmmaking, narrative structures are unraveled to relate new stories, images are removed from their original context only to reappear in a different context, new layers that alter the meaning are added, stereotypes from Hollywood movies are exposed, and new montages are used to destroy the illusion of the medium itself. The physical properties of the original material are also emphasized or altered in order to add a new meaning. The starting point of this study is the recognition of the origin of found footage film. It traces back to the found object from primitive impulse and found art from Dada and surrealism. Many found footage films have been at least partly inspired by Duchamp's ready-mades. These films use footages that the filmmakers did not shot, and even footage that was never intended as art. This essay deals with the found footage practices and interrogates the aesthetic implications by the concept of self-reflexivity. Self-reflexivity means consciousness turning back on itself, and found footage film is about films which call attention to themselves as cinematic constructs. It breaks with art as illusionism and exposes their own factitiousness as textual constructs. Furthermore, the inevitable mortality of celluloid and temporal reconstruction of original film will be treated. Recentely, many attention has been given to role of Found Footage Film. I hope to add the understanding of the artistic found footage film with this study.

• Journal of Conservation Science
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• v.31 no.3
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• pp.309-318
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• 2015

The staff given with chair to Yi Gyeong-seok, senior official over 70 years old by King Hyeonjong of Joseon Dynasty is representative handcraft of Joseon Dynasty. Results of analysis on the metallic decoration show that the metallic ornament of the end part which is connected to the spade was made by rolling of iron plate and brass plating. The plated part is limited to the ornament of the end part connected to the spade and the plating was not applied to the spade. Brass including 20% zinc was used for the connecting part of guard while brass gilded iron was used for the spade. This suggests that the tone of the connecting part of the guard and the spade was not different for reason of visual harmonization. Potential applied plating method can be amalgam, dippping in molten brass, and brushing but the analysis result suggests that dipping in molten brass method is the most likely accepted method. The brass guard of knife was joined by tin-lead solder. Rivet used to fix the blade was made by pure iron as an optimum material which satisfies flexibility and strength.

• Journal of Science of Art and Design
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• v.6
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• pp.140-202
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• 2004

Body means 1)the whole structure and substance of a man, animal, or plant 2) the trunk or torso of a man or animal 3) part of garment that covers the trunk 4) the fresh or material substance, as opposed to the spirit. Human body could be distinguished as fresh and spirit. Body has the meaning of physicality. Physical means the bodily and constitution, but in the meaning of constitution there is the content of spirituality. Physicality means the appearing or arising of trace or image or nuance of body. The paintings which are using bodies are 1) directly draw bodies 2) twisting or transformation or nuance of the body and highly upgrade the physical emotion or fantastic bodily nuance 3) directly rubbing artist's body on the surface of painting with pigments to elect tactile specification. These physical art have appeared broadly by various artists, mainly with the social aspects of sex, drug, psycho sexual issues. In case of Joel peter Whitkin, the reason of strong physicality in the art is from the mind of the rejection and resistance of real world which is targeting top, perfect and beauty. Further explanation, being the world which is separated top and under, men and women, beauty and ugly; further in the situation, the hierarchy, terror and pressure began and many difficult problems has derived. The contents of attacking feminists's art works are very obscene to reveal female and male's phallus strongly. Sometime, it is strongly related in the political issues. The physical paintings have strong meanings in the action by hands and feet. It supports that it could reveal the humanity with smell, breath, and traces of bodies. In the bodies, the origin of life begins which gives human life by blood lines and water. Sometime, the physical paintings are made by the blood and urine to stick the physicality for special nuance. The physical paintings are made by the image of penis and clitoris which are related in the image of urinating, ejaculation and sometime is symbolized as pens and candles to drop liquid. The selected painters who are related in physical painting are Jackson Pollock, Andrea Serano, Eve Klein, Francis Bacon, Francesco Clemente, Lichard Long, Jakes & Dinos Chapman, Anselm Kiefer, Kiki Smith and Park, Ki Woong. Francis Bacon's style is destructive in representing human shapes which give us special message about the unbearable activity of men politician, high brain, wealthy and religious people. Francesco Clemente's method is to use throat, ear hole, mouse, clitoris, belly nostrils and every holes of body to transmute human physical body. Lichard Long uses directly his body in drawing the surface of painting by using liquid of mud Jakes & Dinos Chapman destroys or transforms the bodies of human. It sometime appears wrong location of the bodies that the penis and vulva is in between human faces or nose of women, Anselm Kiefer uses human hair for representing the human decaying martyrs, and indirectly using straw, he gives special ritual action to repent the Nazi's fault. From 2002 to 2003, Park KI Woong used women womb images to intermingle the smoke shape of <9.11 terror, 2001> in New York to reveal the painful situation of the time(*).

• Journal of Science of Art and Design
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• v.6
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• pp.81-99
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• 2004

For making something to use as a tool since the emergence of mankind, the initial pragmatic purpose has transformed into a new genre of art over time. Things defined like this have rooted in our culture as tradition so far. In the midst of today's various trends, a reflection of tradition and a modern search for tradition by re-creating it are much more needed. To any people in any time, a new trend would undeniably develop on the basis of its previous tradition in any form. The colors appearing in such artwork are also an expression of each people's unconscious potentiality as essential grounds for human aesthetic. The traditional Korean Bojaki, which was made out of women's pragmatic mind trying to recycle trashy pieces of cloth in the 19th century of Chosun Dynasty, appears as a symbolization of our nation's original form in unconsciousness. It includes Confucianism, Buddhism, Zen and the Yin-Yang and Five Elements thought, which have been together with naturalism. The five colors appearing in the Yin-Yang and Five Elements are the basis. Fourteen selected samples around the five colors seen in the color scheme of the Chosun era's Bojaki were measured and their color values were found by analyzing them based on HCV(Hue, Chroma, Value)of the five primary colors as well as the five secondary colors. After choosing a few colors with bare eyes close to traditional Primary Colors and Secondary Colors amongst 14 pieces of data which particularly used traditional Five Colors and examining them using spectrophotometer(JX777), the following conclusions were drawn. Comparing only colors in Primary Colors, the result was red 7.11R 4.59/10.69, blue 6.71PB 3.18/6.45, yellow 3.91Y 7.56/6.12, respectively. With regard to Secondary Colors, it was reported that red 7.96RP 5.42/10.3, blue 7.8B 5.16/5.53, green 8.03GY 6.05/4.34, yellow 2.73Y 7.47/4.07, purple 2.39RP 4.69/4.56, respectively. (diagram) As a result, the standard of Five Colors can be used in modern fiber color. There are differences in dyeing material, methods and kinds of fiber of that time, but women of Chosun Dynasty combined and made fabric which was circulated. Consequently, an applicable attribute of the aye-color values was considered.

• Archives of design research
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• v.18 no.4 s.62
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• pp.215-224
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• 2005

With the recent increase of sensitivity to decors, there has been an ever-increasing significance of exhibiting the beauty of the outer looks of an article. This trend has necessarily led to the diversification and also specialization of the color scheme activities. And so, it is inevitable that we should form the substantial ideas of the color scheme and further on, enhance the efficacy of its orientation under the prevailing circumstances. Now, we come to a realization that we must first take a glance at the whole picture of the arrays of color embedded in a variety of articles in the sixties and seventies of the 20th century, a bold introduction of color designs, thereby tracing the birth of color designs and finding a meaning in its mechanism. This study begins with the obtaining of a large collection of articles in those days, along with the literature on the commercial effects color suggest, and looking into the background of their trend and finding a meaning that underlies what these colors suggest. The general idea of those color designs exemplifies that the color selection was none other than the simplicity and convenience in the making of things in doser relation to the easy selling. With the advance of material quality and enhancement of the industrial idealism, it has been proved that color plays an important role in depicting the image of quality and tastes of class. In that role color has been given the indicator of visual delights and differentials in quality articles. All this has been reflected in a diversity of articles: for instance, white for household appliances, prime color for living necessaries and natural color for the decore like furniture. Formerly, after all, people used to have little regard for color. What is color for, it was thought, in relation to the selling image of articles? That is wily our preceding generation pays attention only to the first-hand looks of articles, neglecting the intensive study on color. We are beginning to understand what image a certain color scheme evokes in our feeling.

• Archives of design research
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• v.19 no.1 s.63
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• pp.225-234
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• 2006

Product designers sketch various ideas of foreground figures(detail design) onto background figures(basic form) and evaluate numerous combinations of them in the late stages of design process. Designers have to test their ideas elaborately with a high-fidelity physical model that looks like a real product. However, due to the requirements of time and expense in making high-fidelity design models, it is impossible to evaluate such a number of combinatorial solutions of background and foreground figures. Contrary to digital models, physical design models are not easily modifiable and so designers cannot easily develope ideas through iterative design-evaluation process. To address these problems, we proposed a new concept 'Augmented Plasticity' that gives morphological editability to a rigid physical object using Augmented Reality technology and implemented the idea as Digital Skin system. Digital Skin system figures out the position and orientation of object surface with ARToolKit visual marker and superimposes a deformed surface image seamlessly using differential rendering method. We tried to apply Digital Skin system to detail design, redesign of product, and material exploration task. In consequence, it was found that Digital Skin system has potential to allow designers to implement and test their ideas very efficiently in the late stages of design process.

• The Journal of Korean Academy of Prosthodontics
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• v.36 no.1
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• pp.166-182
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• 1998

The purposes of this study are to evaluate the Korean mandibular dental arch and classify the mandibular dental arch shape and size based on the incisal angle, canine angle, inter second molar width and height. In this study the mandibular study models were fabricated using irreversible hydrocolloid impression material from 225 volunteers with a mean age 23.62 (range 19-29). And the study models were measured with 3-dimensional measuring device and the mandibular dental arch was classified by means of K-means clustering method and visual inspection, then obtained data were analyzed with t-test for the statistical analysis. The results were as follows ; 1. The average canine height was 5.19mm(s.d. 1.17) in both sex, 5.34mm in male, and 4.95mnm in female. And the sexual difference was significant($0). 2. The average second molar height was 39.81mm(s.d. 2.44) in both sex, 40.19mm in male, and 39.21mm in female. And the sexual difference was significant($0). 3. The average inter-canine width was 27.16mm(s.d. 1.78) in both sex, 27.41mm in male, and 26.77mm in female. And the sexual difference was significant($0). 4. The average inter-first molar width was 46.93mm(s.d. 2.67) in both sex, 47.72mm in male, and 45.7mm in female. And the sexual difference was significant($0). 5. The inter-second molar width was average 56.09mm(s.d. 3.01) in both sex, 57.24mm in male, and 54.32mn in woma. And the sexual difference was significant($0). 6. The arch form was classified into three shapes based on the incisal and canine angle. V-shape showed $124.88^{\circ}$ of incisal angle and $141.64^{\circ}$ of canine angle, U-shape showed $152.76^{\circ}\;and\;125.35^{\circ}$, and O-shape showed $138.03^{\circ}\;and \;33.66^{\circ}$ respectively. Each shape distribution was that the V-shape was 14.2%, the U-Shape was 14.7%, and the O-shape was 71.1% of the 225 study models. 7. It was thought that the use of second molar width is more reasonable than height for classifying the dental arch size. The arch size was classified into four sizes based on the second molar width. Size 1 showed range of 42.24-48.23mm, size 2 showed 48.24-54.23mm, size 3 showed 54.24-60.23mm, and size 4 showed 60.24-66.23mm respectively. Each arch size distribution was that the size 1 was 1.3%, the size 2 was 27.1%, the size 3 was 63.6%, and the size 4 was 8.0% of the 225 study models.

• The Journal of Korean Academy of Prosthodontics
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• v.41 no.5
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• pp.565-581
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• 2003

Statement of problem : A scientific examination and understanding of overall aspects of the natural dentition is the first step involved in making a satisfactory selection in the shade of an aesthetic prosthesis. Proper natural shade selection of the prosthetic restoration that is in harmony with the remaining dentition is as important aesthetically, as harmony of form and function in the anterior dentition. Clinically, the most commonly applied method of shade selection has been visual, but because of the subjective nature inherent to this method, shade selection results are variable and can be influenced by such factors as the technician, the type of shade guide used, and the type and intensity of the lighting. Purpose : The purpose of this study was to develop a more objective and scientific approach to examining and understanding the shade of teeth, which has in turn lead to the development of a number of shade analysis devices that present a more objective method of shade analysis. Material and Method : In this study, the shades of healthy anterior teeth were examined and analyzed using the recently developed digital shade analysis of the $ShadeScan^{TM}$ System. The study examined 80 individuals in their twenties, 40 males and 40 females, presenting 6 healthy, unrestored maxillary anterior teeth. Tooth brushing and oral prophylaxis were performed prior to evaluation. The ShadeScan handpiece was used to acquire images of the 6 maxillary anterior teeth. These images were analyzed using the Vita/Classical mode of the $ShadeScan^{TM}$ Software, and shade maps of each tooth were acquired and divided into cervical, middle, and incisal thirds. The shade distribution of each third, left and right symmetry, and gender differences were investigated and analyzed. Results : The results of the study are as follows : 1. An overwhelming majority of the examined teeth were found to possess shades belong to Group A, with the greatest variations occurring at the middle and cervical thirds of the maxillary central and lateral incisors, in both male and female subjects. 2. Canines of both male and female subjects showed left and right symmetry with uniform shade distribution of A4 and C4, while the lateral and central incisors showed left-right symmetry of the incisal 1/3 with a uniform shade distribution of A2 and A3 shades 3. No significant differences in shade distribution were seen between genders in maxillary canines, whereas maxillary central and lateral incisors showed differences at the middle and cervical thirds between male and female subjects The results of this study show that with the exception of maxillary canines, maxillary anterior teeth display a diverse shade distribution as well as gender differences. Conclusion : Clinically, when making a shade selection using the existing shade guide, one must consider the fact that even a single tooth consists of a variety of shades. The results of this study show that when selecting a shade from a number of groups is difficult, shades from A group are the most consistent with the natural shade or maxillary anterior teeth.

• Transactions of the Korean Society of Mechanical Engineers A
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• v.34 no.1
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• pp.85-90
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• 2010

Friction welding is a common practice to join axially symmetrical parts for automobile industry applications. The shaft for automobile reverse idle gear is generally produced by forging steel, SF 45. This method is not so good because of high cost of material and production. In this study, in order to investigate the possibility of application of SM 45C to SF 45 dissimilar friction welding, the dissimilar friction welded joints were performed using 20 mm diameter solid bar in forging steel(SF 45) to carbon steel(SM 45C). The optimal friction welding parameters were selected to ensure reliable quality welds on the basis of visual examination, tensile test, micro-Virkers hardness surveys of the bond of area and optical microstructure investigations for welded joint parts. Finally, post weld heat treatment(PWHT) of the high-frequency induction hardening was performed for the friction welded specimens under the optimal welding conditions. And then, the mechanical properties were compared for as-welded and PWHT in SM 45C to SF 45.